EMMEDIA Exhibitions

PARTICLE + WAVE 2022

 

From March 25th to April 29th 2022

Gallery Hours: Wednesday-Saturday 1pm-6pm 

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Address:

EMMEDIA Gallery: 2005 10 Ave SW, Calgary, AB T3C 0K4

TRUCK Gallery: 2009 10 Ave SW, Calgary, AB T3C 0K4

*Both Galleries are in the same building with the same open hours.

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PARTICLE + WAVE explores the many facets of media arts, including film, audio, video, animation and digital interfaces. The artists included in this exhibition explore topics through the lens of ever-changing technological tools and processes. Their artworks utilize these technologies in amazingly creative ways.

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 In the spirit of reconciliation, we acknowledge that this exhibition will take place in the traditional territories of the Blackfoot Confederacy (Siksika, Kainai, Piikani), the Tsuut’ina, the Îyâxe Nakoda Nations, the Métis Nation (Region 3), and all people who make their homes in the Treaty 7 region of Southern Alberta.

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Artist statements and info below!

Opening Reception: March 25th 6pm-10pm

CLICK HERE TO LEARN MORE ABOUT THE OPENING RECEPTION

 

 

Papier: Versuche Zwischen Geometrie und Spiel - Paul Robert

This work seeks to translate the value of deep engagement with simple materials to a digital context. It is also a reflection on the relationship between ideas and their supports, on the interdependence of the physical and metaphysical.

 

Paul Robert has a BFA from Alberta University of the Arts and an MFA from NSCAD University. His work has explored, among other things, optics, computation, and the relationship between automation and the handmade. His work is animated by the idea that many elements of modern media and technology are not as new as we are often believe them to be, and that craft is not as old. Paul is an Assistant Professor in Media Arts at Alberta University of the Arts.

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Steal This Sticker - Andrew DiLallo

Steal This Sticker references Abbie Hoffman's Steal This Book, a 1971 countercultural guidebook of resistance against corporate America. The revolutionary zeitgeist of Hoffman's book remains relevant, but its applicable content is heavily outdated. Steal This Sticker updates and continues the conversation, centered around a Hoffman-inspired organization named Palmistry for Community-Centered Consciousness. This fictional group aims to envision a future of collective well-being using the phones in people's hands. Upon scanning the QR code, a viewer receives a structural palmistry reading regarding cultural belief systems rooted in extractivist capitalist values that are antithetical to developing collective care networks. Reflections on these beliefs incorporate mini-games referencing Bernie Boston's iconic Flower Power photo and the National Mobilization Committee to End the War in Vietnam's efforts to levitate the Pentagon in a 1967 protest. Unlike in Hoffman's time, today's youth primarily access information using the web on mobile phones. According to a 2019 survey conducted by Pew Research, over 95% of teens in the US have access to a smartphone, and 45% of them say they are "almost constantly" on the internet. The piece attempts to bridge this disproportionately online reality with the physical. Each participant receives an action item or a suggestion on applying the reflections in the game to their own lives, such as shopping locally or connecting with mutual aid groups. The core of Steal This Sticker is viewer participation and engagement; people requesting stickers in the mail. An Instagram page serves as the archive for all the various locations the sticker lives. As of January 2022, the project exists in at least 15 cities across the US and a handful abroad in Canada, Spain, and Germany. Hopefully, this project serves as an inspiration and youth activist primer, leading to tangible actions that contribute to a better future for all.

Andy DiLallo is a Colorado-based media artist creating interactive and immersive experiences, video games, net art, video art, and sound art. His work explores restorative uses of technology and the possibility of listening within an oversaturated information age. Andy is interested in play as a means to critically examine the complexities of an increasingly merged digital and physical reality. Andy's work was recently featured internationally at SIGGRAPH 2020, the 2021 Athens Digital Arts Festival, and a public intervention during COP26 Glasgow.

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Deathspins, Spun - Alexa Bunnell

The work Deathspins, spun draws it’s starting point from the term soliphilia: a love and responsibility for land, ecosystem, and microbiome, rooted deeply on interdependence and unity - an adoration of the interrelated whole. Philosopher Glenn Albretch describes soliphilia being manifested as a solidarity between individuals that begins in political commitments to save a home environment. An urgent and visceral reaction to climate change, soliphilia is in defiance of colonial and extractive systems that place pressure on our relationships to our ecological environments. Deathspins, spun expands on soliphilia through the concept of the “wood wide web”; the scientific discovery that whole forests communicate through the mycelium of fungal organisms. Narrative in nature, the project describes a body that listens in to a whole forest through a Ghost Pipe plant that parasitizes itself off of a Russula emetica mushroom.
 
Alexa Bunnell is an emerging artist, writer and fermenter based in Mohkinstsís (Calgary, AB). Their artistic and research-based work takes into account queer considerations of ecology, botany and restorative futures.
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Words I Wish I Said Before - Janira Moncayo

The ongoing movements for racial equality and the lack of concrete plans for systemic change have placed an immense responsibility on activists of color to constantly, urgently and devotedly work towards dismantling racism. The expectation to selflessly fight back for long-term periods of time is emotionally demanding and in some cases, unsustainable. Words I wish I said before (2021) is a video documentation of an interactive, media installation, where people of color create a utopian and uplifting space for collective care. Through a collection of audio recordings, their voices reassure the listener of their racial identity, hoping to rekindle the relationship to their communities and past generations, as the recordings invite the audience to repeat their words on the set-up microphone. Words I wish I said before manages the contradictions of being grounded to the generational trauma of racism, as the voices in the audio recordings acknowledge the influence of white supremacy. Yet, those realizations do not emphasize our racial trauma, but instead encourage each other to accept it as one dimension of our identities, and reclaim what white standards have portrayed as inferior qualities. The work invites the audience to become conscious of their emotional state and background, recharge energies and return to advocate for social justice.

 

Janira Moncayo (she/her) is an Ecuadorian-born emerging artist currently based in Edmonton, Alberta. She combines video, found-footage, installation and performance, with the purpose of deconstructing and re-envisioning mainstream media’s racial stereotypes, and uplift marginalized communities. Her work recognizes and celebrates the complexity and diversity of ethnicity, as a facet each person embodies as their own. For her, art-making is an emotional and spiritual process of interconnection to her heritage, her body and her country. Moncayo has showcased her work at Illingworth Kerr Gallery, Marion Nicoll Gallery, SpanicArts and ATB Art Vault.

ONLINE ARTWORK: CLICK HERE

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❤️♡❤️ - Kenzie Housego

Love it or hate it online dating uses unprecedented new technologies to connect potential romantic partners and theoretically enhance the chances of finding true love (if that is your goal).

Kenzie Housego’s exhibition ❤️♡❤️ explores contemporary courtship by investigating past and present modes of behaviour related to dating rituals. Her textile-based practice combines technological components to engage audiences in a dialogue with artworks. Housego also employs historical imagery rooted in floriography, also referred to as the language of flowers, as a symbolic tactic to uncover fundamental changes and dichotomies between expectations and behaviours in courtship. ❤️♡❤️ also investigates the conveyed meanings of emojis, texts, and sexts, while juxtaposing historical and contemporary visual symbology to draw parallels or find differences between methods of signalling attraction through display. The artwork highlights how romantic communication is transmitted, interpreted, and misinterpreted via screens. As coded symbols, romantic exchanges in our digital culture are frequently mediated through technology and may or may not always convey the meaning intended.

Each of the five artworks in ❤️♡❤️ explore a specific facet of contemporary courtship. These include the role of technology, online representation, communication tactics, romance, and dating texts. ❤️♡❤️ contains digital components such as electronic light emitting diodes (LEDs), motion sensors, and chatbots used to conduct real time online communication. Chatbots are designed to convincingly simulate the way a human would respond in a conversation through a trained artificial intelligence (AI) program. The artworks offer an invitation for interactivity that Housego hopes will encourage viewers to shift from passive observers to active co-producers as they engage with the digital media, experience other points of view, and ultimately, form their own individual meanings.

 

Kenzie Housego recently completed a Master of Fine Arts Degree at the University of Calgary specializing in new media. As a multidisciplinary artist her practice includes fibre, new media, sculpture, and assemblage mediums. The use of technology such as LEDs, micro-controllers, texting, and screens within her research is symbolic of the virtual realms in which we participate as a society. The virtual encompasses social media platform activity, online personas, online dating, and online branding. The digital world has become ubiquitous in communication, shaping contemporary society, particularly in relation to online representation. It's important to her artwork always offers an invitation for interactivity, encouraging viewers to shift from passive observers to active co-producers as they engage with the digital media, experience other points of view, and ultimately, form their own individual meanings.
Housego currently lives and practices in Calgary Alberta. Learn more at kenziehousego.com

KenzieHousego Partical Wave Submission 2022

Touch Like the Touch of Another - Kurtis Lesick

Touch like the touch of an other is a response to the Covid19 pandemic and how lock down and social isolation have reframed our thinking on the notions of touch and presence. On April  23rd 2020 I received a text message from a friend that said "It's been 4 weeks since I've been touched by another human being." Covid19 has changed how we think about touch its urgency its comfort and its ability to constitute us in the world. The touch of an other defines the boundaries of our bodies locating us in time and space. The touch of another centres us in our personhood. The other is that part of the world that exceeds us at our barriers, our collective recursive touch constitutes the world in singular plural. According to Jean Luc Nancy: "Being cannot be anything but being-with-one-another, circulating in the with and as the with of this singularly plural coexistence." [1]​ Over 7 weeks in September and October 2020  I cordoned off my livingroom as a makeshift studio and, with strict social distancing measures in place, i invited one person each on their own day to enter and stand in front of a camera. "I want you to think of times when a touch has placed you firmly in the world. I want you to imagine those times in detail, go to them, and complete each touch on yourself." This video brings those people and their moments of "singular-imagined-togetherness" together. Presences weave in and out as ephemeral as the fleeting touch that constitutes each and everyone of us.​​
 
[1]  Nancy Jean-Luc. 2000. Being singular plural. Stanford Calif: Stanford University Press.P.2.
 
Kurtis Lesick’s installations media works digital performances and cross-media collaborations have been described as phenomenologies that explore the space between the physical world and our knowledge perception and (mis)representation of it.  Lesick’s practice draws heavily on his experience in archaeology, anthropology, and philosophy, as well as both his love and disdain for technology. His work has been presented and exhibited internationally in Canada, Greece, Italy, Spain, the United Kingdom, and the U.S.A. Lesick is the Director of the School of Craft + Emerging Media, and Director of the MFA Craft Media, at the Alberta University of the Arts where he also teaches in Media Arts.
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The Crossing Place - Sandra Vida

Growing out of a residency in Ireland with Irish performance artists Pauline Cummins and Frances Mezzetti, The Crossing Place  explores themes of identity, ancestry, and earth-based spirituality. During this fruitful time filming, recording, and photographing in the old manor house and grounds on site, I took on two main personae: a Servant Woman in the house, and an Ancestor/Crow Woman who inhabits the area of the walls and gates; as well, with my collaborative partners,  created costumes and props and adopted the appearance of strong Spirit Women whose dwelling place is the deep woods. Enacting an implied narrative of exploration and growth, these characters intersect, influence each other, and enable self-discovery and finally decisive action in The Crossing Place between worlds. 


Over my 3-decade art career, mainly based in Calgary, I have embraced a time-based, multi-disciplinary approach that explores innovative combinations of media. Ongoing interests include spiritual exploration, psychological concepts and poetic text. I enjoy working with concepts that carry a wide range of associations and layers of meaning. The space created by art is a versatile and evocative arena where time and space can be bent and shaped. While social issues often form a backdrop, I emphasize the inter-weaving of the personal and the social. Framing concepts for this piece include Carl Jung’s writings on dreams and the collective unconscious, and Rupert Sheldrake’s ideas on morphic resonance, as well as recent works by feminist writers like Clarissa Pinkole Estes and Jean Shinoda Bolen.

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The (Intra/Extra)terrestrial Botanist - Kelly Jaclynn Andres

intraterrestrial botanist explores vegetal beings in the context of urban, rural, cosmic, and imaginary places. This installation is the fifth in an ongoing research-creation (R-C) series in human-ecological-technological interrelations. Each subsequent iteration moves through a performative unravelling of practices that echo evolving artistic and eco-ethical learnings.

The artworks build on previous concepts of interconnectedness between plants and people with an inquiry to think with water as a conduit of memory. The installation provides participants the opportunity to speak, sing, whisper, or hum to different waters collected from multiple sources and hosting an assortment of water plants. Each vessel of water contains a different vibrational imprint based on where the water came from and what other forms it has encountered. As the water experiences the auditory murmurs from participants, the water changes molecular form in what can be considered a process of creating new memories.

The wall panels illustrate forming ideas around the exploration of AI concepts from a feminist perspective. I am in the early phases of modelling systems that embrace multi-species intelligence, embodiment and sympoetic processes of memory and learning. The vegetal rhizome systems of plants, snails, and brain coral are some of the creatures that continuously inform my work.

This project is supported by a research-creation grant from The Canada Council for the Arts.

 

Kelly Jaclynn Andres creates installations and sensorial experiences in configuration to/or with plants, water, and sound. Current interests include ecological art practices, co-creative community/urban planning, and experiential approaches for multi-species interactions. Andres works as a Public Art Curator and Facilitator in Red Deer, Alberta where she co-curated and organized Meet the Street (2021, 2022) a mural and urban art festival. Andres’s past work has been generously supported by The Social Sciences and Humanities Research Council, The Conseil des arts et des lettres du Québec, Alberta Foundation for the Arts, and The Canada Council for the Arts.

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Digital Threads of Identity - Natalie Melara

I reside in a liminal space - somewhere between the Latinidad of a Salvadoran and the “northernness” of a Canadian and this is where my identity has been formed. I have had to figure out how to make space for myself in both communities, so I built a tentative relationship with both cultures as I grew up, but have always lacked full ownership of either. The repeated negations and failures to recognize the complexities of my identity have resulted in feelings of displacement, this has led to the formation of a hybrid identity. In this body of work I want to highlight how the liminal space between the real world and the digital world, just like the liminal space between two cultures, results in new realities and artifacts. How does dissolving distinction between digital and physical artworks relate to dissolving distinctions between two cultures? I refashion and repurpose paintings and collages into digital forms, which I then bring back to the physical space. Every layer of the work depends on one another and aims to reform and improve with each cycle. In Digital Threads of Identity the work takes into account the shamanistic, symbolic and social functions of Mesoamerican Masks and textiles. In the physical space the collaged masks are worn by the Origin painting. The masks and figures enter the digital space by creating digital patterns that resemble weavings and textiles of Central America. The final destination of the hybrid creations are in a liminal space between the physical and digital using augmented reality technology. Through the resulting media hybrids I attempt to create objects that can inhabit both spaces, the way I need to inhabit both cultures.

Natalie Melara (she/her) is a multidisciplinary artist based in Mohkinstsis/Calgary, Canada. She is currently working towards her BFA at the Alberta University of the Arts and works as a photo retouch artist for an established photography studio. She has exhibited with the Art Gallery of Alberta, Marion Nicoll Gallery, Contemporary Calgary and Stride Gallery. Melara is the recipient of multiple awards including the New Zones Gallery of Contemporary Art Scholarship and the Joane Cardinal-Schubert Memorial scholarship. She has also obtained technical training in fashion design (Olds College, Olds, Canada) and architectural design ( Southern Alberta Institute of Technology, Calgary, Canada) which informs the curiosity, development and exploration of her practice. Her artwork involves cultural investigation, feelings of displacement, and the formation of a hybrid identity.

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???? - Mantis Mei

The continuous craft of covering my hands. The laborious and intimate building of these mittens is something I choose to do, even if it cripples me, I’d much rather that than show my hands. How long can I mask? Activated by a dark detecting sensor, the piece reacts to anyone who comes near by ripping itself apart until they step away. inside are two notes. Though the spectator is met with their guilt of violently undoing hours of progress, it’s ultimately their choice to choose if their curiosity is worth revealing what’s said inside.

 

Mantis is afraid of bugs!
Though Mantis’ work is highly personal, they choose to detach into metaphorical, non-human/ uncanny territory. As an autistic person, it is hard to feel like a person sometimes. Mantis’ experience, as it brews internally, is never human. It is anything but. All works Mantis has created she has grown to hate; not because it is lacking, but because it represents an attempted recollection of emotions instead of the emotions themselves. They play with this ingenuity and what that means for their practice. Mantis has moved from creating singular, permanent works to doing ongoing series that develop as she does. As much as possible, the audience is encouraged to metaphorize with the artist. Mantis recreates that experience outside of my body; even if the content is not applicable to the audience’s lives, she strives for them to feel the raw emotions. They do not have to re-contextualize it to their personal experience, they just have to sit in it. Their practice exists in multiple forms: digital or physical, hard or soft, 2D or 3D. Still afraid of bugs, though.

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Concrete Music - Derek Haussecker

Concrete Music is an instrument that defies the conventions of standard musical instrument production and embraces the dynamic qualities of sound apart from melody, harmony and structured rhythm. This instrument transforms the harsh noise of industrial materials and construction processes into new sounds, by translating them through everyday household objects; metal hanging hooks, springs, a glass canning jar and water. A 100LB block of concrete is pulled across a concrete floor, sending vibrations through a series of resonators; first through a rectangular wooden frame, then into the springs and glass jar. A contact microphone is attached to the lid of the jar, amplifying these new sounds. In playing the instrument, a process emerges that emulates the building of a house; labor involving friction, force and construction materials create the framework in which we exist in our daily lives.

Derek Haussecker is a multi-disciplinary artist and musician from Calgary, Alberta. His work often explores the relationships between sounds, colours and form. As a percussionist he utilizes patterns, rhythm and the dynamics of sound as tools to create an atmosphere or experience that intrigues the viewer/listener and attracts them to investigate the relationships between what they are seeing and hearing. In creating physical or audio work, he adopts a process of experimentation and revisitation to make objects and sounds. Using common materials and themes that are reimagined into a new experience. He aims to encourage to viewer/listener to question reasoning behind the creation of sound and music, broadening the scope of sonic possibilities to be enjoyed and understood. His work will range from sculptural objects and installations working with sound and light to time-based audio and video compositions and live audio performance.

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Virtual Crossing - Katarina Marinic

Virtual Crossing is a series of non-narrative, silent, looping digital animations that explore a digital self that is in continual motion. Through a spectrum of bright colours, photo-montages using appropriated facial and bodily features move, bend, twist, and distort. Generously funded by the Canada Council for the Arts and the Nova Scotia Arts Council, this work began with the question “what if the digital version of the self becomes the only way to convey who you are?” Traditionally, online personas have served as an escape, a way to express another aspect of who you are. In my question about the digital self, I begin to speculate about a future in which embodied experiences no longer exist. Throughout the pandemic, many of us have been isolated with limited social contact, making it even more crucial to turn to digital devices to keep connected and informed. This increase in reliance on digital means of expression and communication is literally pulling us into a virtual existence, one that we have yet to fully understand and study due to its rapid development and continuously changing platforms.

 

Katarina Marinic (she/her) is a visual and media artist whose personal practice is rooted in the constructed and manipulated image. She creates representations of the human body as a means to explore fictional realities and the ever shifting boundary between the real and virtual. Her projects utilize appropriated and original photography, 2D/3D animation, installation, and projection. Katarina resides in Dartmouth, Nova Scotia, Canada. Located in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq people.

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Cahkipêhikan - Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ

Hidden underneath, is a gentle song Rooted in language
A blue tear to take away the pain
I sing to my Mosum and Kokum
I sing with the strength of Cahkipêhikan


Cahkipêhikan is a performance based in language. I explore and move with Nehiyawewin. I sing with my ancestors. I sing a traditional song that was shared with me from the ever beautiful Carol Powder. I sing with the strength of Cahkipêhikan.

 

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Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ is a Nehiyaw Isko artist, from Bigstone Cree Nation. She currently resides in Amiskwaciy Waskahikan also known as Edmonton, Alberta. Cheyenne graduated from Emily Carr University with her BFA in Visual Arts in 2019. Her work often explores history, knowledge and traditional practices. Through the use of her body and language, she speaks to the past, present and future. Cheyenne’s work is rooted in the strength to feel, express and heal. Bringing her ancestors with her, she moves through installation, photography, video, sound, and performance art.
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Downstairs - Jacqueline Huskisson

I am interested in exploring the line between reality and fiction; to create my own interpretation of where that line is. My artworks are ultimately questions to viewers about their own perceptions on life, their personal narratives and an active study of my own situation.

Jacqueline received a B.F.A in Print Media from AU Arts in 2011. In 2017 she received an M.F.A in Interdisciplinary Studies from the Belfast School of Art. She has recently had solo exhibitions at Alberta Printmakers and Poolside Gallery (VideoPool, Winnipeg). Jacqueline has also been doing various projects, installations, and residencies around Canada, USA and Europe. She is the recipient of various local and national grants and was the inaugural receipt of the Scott Leroux Media Arts Exploration Fund and received a Juror’s award for SSNAP 2021. Her next project is a summer solo exhibition with the Helmut Project Space in Leipzig Germany.

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Out From Under the Shadows - Bryan Faubert

Out From Under the Shadows is a public shadow installation:

Viewable when the sun goes down at 750 10th Street SW, Calgary, AB T2P 1J2 (AKA in front of Loophole Coffee)

Bryan Faubert received his Bachelor of Fine Arts from the Nova Scotia University of Art and Design and his Master of Fine Arts from the University of Calgary in 2020.  In 2014 he opened Studio 34, a sculpture studio, where he taught workshops and classes and conducted his own studio endeavors.  This space was about accessibility to the public to experiment and learn, creating shared knowledge.  Bryan is a member of the Wolf-Sheep Arthouse Collective in Victoria and an artist at the nvrlnd. Arts Foundation in Calgary.  Faubert’s exhibition history stretches from Nova Scotia to Toronto, down to Mexico and back up to Vancouver and is comprised of graffiti expositions, installations, pop-ups, artist run centres, public sculpture and commercial venues.  Last spring Bryan travelled to New York to apprentice with internationally acclaimed sculptor Cal Lane, this endeavor has inspired his current public sculpture with a C-Train car, which may become the new home base for Studio 34 in Calgary. Learn more here: bryanfaubert.com

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